Your Scholastic Strength Is Deep Thinking

You aren't afraid to delve head first into a difficult subject, with mastery as your goal. You are talented at adapting, motivating others, managing resources, and analyzing risk. You should major in: Philosophy Music Theology Art History Foreign language

haynaku.. badtrip ang araw na ito..

> Labor Day pero may pasok sa Melbourne Uni -_-
> Walang tram sa city -_-
> Hindi ko maintindihan ang anthropology
> Si Alvin naman ---> he's too far to be reached -_- i need a chem tutor
> Hindi ko mapanood ang DVD sa DVD player sa sala
> Ako lang ang pumasok sa aming lahat sa bahay -_-
> Hindi ko siya natawagan, he was not answering his phone
> Busy daw siya --> nakapag-online naman kahapon
> Yung magaling kong kapatid.. pinaiyak lang naman ako kanina..
--> tinanggal yung cable ng internet
--> binasag yung picture frame (na pic siyempre)
--> inubos yung pabango ko na talagang tinitipid ko (Calgone: Moon Petal Husk; na walang nabibili dito sa Pilipinas -_-)
--> binato ako ng pencil
--> binatukan ako
--> sinagot-sagot ako
--> binara-barado ako
--> kinalat ang gamit ko
--> pinagmumura ako at kung ano ano na... dahil lang sa MU! sa MU! nakakamatay pala yan.





its true ---> true love never runs smooth talaga... -_-

miss na kita pero busy ka naman... di bale na nga lang...

nawalan na ako ng gana





A good relationship isn't a game you play or an ego trip you take. It is about love and two people. Loving someone can give us the greatest joy we can ever know and it can hurt more than we can believe too. When it does not really hurt when that person did something disappointing to you, but really hurts when you see that person in pain and sadness, then you know you truly love that person.

Loving someone means you should be ready to experience heartache and happiness at the same time. That's the reward and that's the risk. Unless we are willing to experience it, we will never really know what it's like to love and be loved.

Sharing love is probably the most valuable and meaningful experience a person can ever have. And there's a difference between being in love with someone and loving someone. It's the difference between a love that's fickle, wild and short-lived and one that's tender and passionate, nurturing and lasts a long time. The first is easy. The second, the one that really matters to all of us, takes work -- because it's about keeping a relationship.

Loving someone takes efforts. We have to be able to communicate with each other. Nobody can read anyone else's mind. We always presume that our partner knows what we think and feel. Maybe in time we might be able to predict or sense each other's thoughts but it's never perfect and takes time to develop.

Getting the chance to love and be loved by someone is blessed. Respect him/her for who he/she is, and not what you want him/her to be. Everyone is pretty and special in his/her own special way. No one is perfect. It is true love which closes the gap of imperfectness to form a smooth surface of acceptance for each other. True love sees and accepts a person for who he/she is. It is also true love which makes a person change for the better.

The power of true love to a person is undeniable.

A relationship needs commitments too. What is love without commitments from each other anyway? It's like principles and values. Everyone has them but they only mean as much as we are willing to stand for them.

The same goes for our commitments to relationships, and the person we love.

"Love is like an antique vase. It's hard to find, hard to get, but easy to break."

Every day everywhere, people fall in love ... but just how many of these relationships are self-sacrificing love, and not just relationships which are formed only for the intense feeling of falling in love? I know hundreds of friends who say the magical words "I love you"... but more often than not, the truth is just -- I am IN love with you. There is a difference between being in love with someone and loving someone. If a person says he/she is in love with you, he/she means that he/she likes you for who you are now and he/she fell in love with you because of the present you.

This kind of love is temporary and lasts only as long as the fairytale lasts. When fairy godmother comes in at midnight to whirl us back to reality, we see the heartache of such a relationship...where both were only IN love with each other.

But if a person says he/she loves you, he/she means that he/she loves you unconditionally for who you are now, who you were in the past and who you might be in the future. When he/she says he/she loves you and really means it, you have to ask yourself if you love him/her too or if you're in love with the idea of being in love. It is very hard to see the difference through logical thinking.

Let your heart guide you.
May you be blessed on your soul-searching journey for your soul mate.





my latest craze????? listening to Ultraelectro-magnetic jams!!!!

nice nice!!!

----------------
Ultraelectromagnetic Jam: The music of the Eraserheads
(February 13, 2006)

Here’s legend any Filipino music lover would attest to be true:

A dozen years ago, four brilliant but then underrated musicians cast rocks into a pond. Then lo and behold! Instead of causing ripples, it created a tsunami that swallowed everything in sight.

They were The Eraserheads. The pond was Original Pilipino Music. And the tsunami? Pop alternative-----proudly Pinoy, made flesh then and has dwelt among us since. The end. Not.

Years after Ely Buendia, Raymund Marasigan, Buddy Zabala and Marcus Adoro a.k.a. Eraserheads have parted ways, the music of the acknowledged flag bearer of Pinoy pop alternative music continues to course through the veins of the generation they defined. It’s all because they made nine groundbreaking studio albums that collectively sold more than a million copies; churned out, oh, only more than two dozen hit singles that composed the collective soundtrack of a nation and; won every imaginable award the industry could give them.

And though some of their disciples seem to have moved on to R&B or acid jazz, trance or acoustic music, and maybe even other pop alternative bands, make no mistake about it: All still feel "Ligaya" and welcome "Toyang" "With A Smile" when they see her "Minsan" during "Sembreak;" standing under a "Maselang Bahaghari" in the "Alapaap," just above the "Tindahan Ni Aling Nena" beside the "Magasin" stand where she dances "Ang Huling El Bimbo" in "Overdrive." Who’s "Toyang?" "Wag Mo Nang Itanong," "Pare Ko."


More fantastically, The Eraserheads still serves as shining example to today’s new artists, whether they admit it or not.

They admit------hence, "ultraelectromagneticjam."

Slated to become the biggest OPM album of 2005, the 17-track album produced by Jam 88.3 and distributed by Sony BMG Music Entertainment is composed of refurbished Eraserheads’ tunes done by an all-star roster tapped from diverse genres in the current OPM umbrella.

These are Paolo Santos (who did "Magasin"); Radioactive Sago ("Alcohol"); Imago ("Spolarium"); Isha ("Torpedo"); MYMP ("Wag Mo Nang Itanong"); Orange & Lemons ("Wag Kang Matakot"); Rico J Puno ("Ang Huling El Bimbo"); Kitchie Nadal ("Ligaya"); Barbie Almalbis ("Overdrive"); Sponge Cola ("Pare Ko"); 6CycleMind ("Alapaap"); FrancisM with Hardware Syndrome ("Super Proxy"); Cueshe ("Hard To Believe"); Brownman Revival ("Maling Akala"); South Border ("With A

Eric Perpetua, Associate Program Director of Jam 88.3 who masterminded the tribute album for this unlikely radio station to bankroll it, says pulling together "ultraelectromagneticjam" would’ve been a Herculean task had things not fallen into place.

"When I started doing this album, there were so many difficult hurdles," says Eric. "Will Eraserheads give their imprimatur? Will Sony BMG Music Entertainment allow it? How will artists take to the project? Which Eraserhead song will each do? And how does one give justice to E-heads’ songs without being derivative?"

Fortunately, the gods of alternative music were listening and so sent friendly arrows along the way. When Eric broached the idea to Sony BMG Music Entertainment that owns the band’s catalogue, they readily gave their go signal----provided only named bands do the work "as befitting the stature of The Eraserheads." So one down. Somewhat.

Next, Eric spoke to prospective top artists. You know, the ones who don’t need to be ‘bothered’ at this point to contribute to a compilation since all are already busy plotting their next albums, promoting their current ones, and/or touring all over.

The response Eric got from them floored him.

"Everyone jumped at the idea!" says Eric. "It’s as if, they, too, were waiting for something like this to happen. All were excited; couldn’t wait to hit the studio. Like us, the only question on their lips was ‘But which Eraserhead song?’"

Unknown to them, Eric had been reviewing the works of The Eraserheads. See, he was hoping of suggesting the right songs to them if they so much ask.

Unknown to him, no one had intentions of doing so-----after all, each artist already has his own favorite E-heads’ song long before "ultraelectromagneticjam" came up.

These choices would tickle a smile from any The Eraserheads’ fan and, maybe, even from the boys themselves.

Isha, known for her Tori Amos-eque piano-and-vocals ways, lets it all rock for a change while adding a quirk to ‘Torpedo;’ a song with lyrics that predisposes it for a male!

Ditto with Kitchie Nadal who couldn’t keep a straight face (caught on record) while mouthing the line "ilang ahit pa ba ang aahitin?" from "Ligaya." To this day, she won’t say which crop of hair from which part of her body she was thinking of then.

As for Imago and Radioactive Sago Project, who would’ve foreseen them doing unreleased E-heads’ singles? The first dredged up "Spolarium" from the album "Sticker Happy" and made it single material. The second did "Alkohol" circa-"Circus" in fashion that proves liquid, even if that be liquor, seeks its own level.

And remember "Superproxy," that Eraserheads and Francis Magalona team-up? This time, they turn the tables on each other with Francis doing the singing and Ely busting the rhymes!

Wild. Crazy. Out of the box. But then, did anyone really expect different from anything that involves Eraserheads music?

"People have asked me, ‘Why the Eraserheads?’ The reasons are simple: No other band has made an impression and impact as big as they have on the music scene. No other band has captured every color- from A to D--- in the demographic rainbow. No other band can create musical magic the way Ely, Marcus, Raymund and Buddy do when they come together. No other band is as witty, cheeky, spunky and as Filipino when it comes to lyrics. No one comes close to The Eraserheads, then and now," says Eric. Amen.

To the credit of all who participated in this landmark album, these (approximating all the above) were never an issue, anyway. Instead, all went into the studio with a mind to pay tribute to greatness-----the essence of which is marriage of universality with individuality that allow it to be remodeled successfully any which way.

Indeed, there’s simply no right way of doing Eraserhead music. All are valid; all can only add to inexhorable, inexhaustible template.

By the way, Eric did get the blessings of every Eraserheads member. Maybe not as quickly as he wanted. But he did.

"Maybe approval was not as forthright because they did not think I was serious. So many have attempted to pull this off in the past in vain, that’s why. But we were lucky. And now that the album is out, we say that we are honored," says Eric.

And where better to launch the album on Nov. 29 than in UP Diliman, the alma mater of Eraserheads?

To be participated in by all those involved in the fruition of the album, one can rightfully suspect it will turn out to be event of the year, too.

Now, nobody’s sure if the Eraserheads would be there.

But nobody doubts it would be one "ultraelectromagneticjam."

from: http://www.globalpinoy.com/news/showbiz/02142006/show4.php

-------------------------------------------------------------------------------need more info?-----------------------------------------------

On How They Jammed with The Eraserheads

It's around a couple of weeks now since the Eraserheads tribute album Ultraelectromagnetic Jam was released. It's a collection of renditions of selected Eraserheads' songs, performed by today's popular local bands.

I had the chance to listen to the songs. I was very impressed, so I bought my own copy of the album. Today, I'm going to review the songs in this post. As an avid fan of the Eraserheads, I will do the review in light of the original songs' musical style and composition.

For those of you who are not yet familiar with the Eraserheads, it's a local band consisting of Ely Buendia on lead vocals and rhythm guitar, Raimund Marasigan (or Raymund Marasigan) on drums, Buddy Zabala on bass, and Marcus Adoro on lead guitar. Raimund and Buddy can also play keyboards and generate sound effects, and Ely can also play bass. All of them I think can play the guitar; I read that each of them played a guitar part in the song Toyang. Collectively, the Eraserheads became the Beatles of the Philippines with their immense popularity, songwriting and musical style; they were also the inspiration of many other bands. They debuted in 1993 and disbanded in 2002.

As for the tribute album itself, the title "Ultraelectromagnetic Jam" is a reference to the Eraserheads' first commercial album, Ultraelectromagneticpop (1993). The tribute album has seventeen songs in all. And best of all, all of the Eraserheads members themselves even participated in the album! But each of them participated in only one song, individually. My minor complaint is that it's pretty expensive. I bought it for P300 in a record bar. In contrast, the Pinoy Big Brother four-DVD original package costs only P299. But the outstanding quality and performance of the songs is definitely worth it.

The album begins with the hugely popular song Alapaap, performed by 6cycle Mind. I'm very impressed with the band's rendition, along with vocalist Ney Dimaculangan's lively, aggressive singing. A lead guitar riff was added to the familiar arpeggiated G Major 7th bass riff in the intro. Cool. The song itself, according to the album credits, was produced by "H. Zabala", which I believe is none other than Buddy Zabala himself (whose real name is Hector Zabala).

Next comes another Eheads hit song Magasin, performed by Paolo Santos. Here's one good example of Paolo breaking his acoustic tradition of doing music, because he's into band music nowadays. (But in fairness to Paolo, he still handled some acoustic guitar in the background.) I still like Ely's original vocals better. But at least Paolo's song stayed loyal to the original in terms of the song's key, which is Key of B. Most likely, Paolo and his band tuned their guitars a half step lower than the standard guitar tuning, which was what the Eraserheads exactly did. (I.e., whenever they strummed, say, a C chord, they produced a B sound instead.)

The next song is Spoliarium, one of my personal Eheads favorites. It's performed by Imago. According to the album credits, one of this song's producers is Raimund Marasigan himself!. As for the song, I'm very pleased with the band's rendition, especially Aia De Leon's gentle, soaring vocals. She definitely put emotion into the song, and the song fitted her very well. They also added choppy chord voicings at the chorus of the song, which I find cool and Beatlesque. (It also reminds me of another Beatlesque song Beetlebum by the British band Blur.) Unfortunately, Aia got short of breath as she was singing the repetitive phrase near the end of the song, but hey, so did Ely in the original. Overall, I'm very impressed with the rendition.

The fourth song is Overdrive, performed by Barbie Almabis outside the cradle. :-) It almost feels as if the Eraserheads performed with Barbie as the vocalist, except that the original song's key is a half step lower. Even the "spaceship going to the moon" sound effect was almost replicated there. But I still like the original ending harmonies ("Mag-draa...a-ah...a-ah...a-a-ive") better. I also like the original's funny "shawarma, Offspring, itlog ng kabayo, chili con implant, ginataang gata..." line (spoken by Marcus Adoro, who is Wency Cornejo's voice-alike when speaking), which was omitted in Barbie's version. But I'm still pleased with Barbie's song.

Next is the song With A Smile as performed by one of the country's top pop/Rn'B band, Sound Border. As expected, their rendition of the song has an Rn'B feel. You can hear additional instruments such as the piano, synths and some percussions which are not present in the original. But they stayed true to the original's key; they performed the song in Key of G Flat. A pleasing version for me, but I still like the original better, which has a simpler feel.

The sixth song in the album is Tikman, the Burger Machine's jingle, performed by Sugarfree. Ebe Dancel's vocals did fine in this song, as well as the vocal harmonies, but I find their version "noisier" than the original because of the heavier guitar distortions and lots of snare drum beats. And yet, there's lesser guitar solos in the song compared to the original. Sugarfree's version is in Key of A, while the original is in Key of G Flat, a whole and a half step lower. But overall, their version is pretty good.

Ligaya is a wonderful rendition by Kitchie Nadal. She gave a new and refreshing interpretation to this very popular song, giving the song a lively, spunky mild rock feel compared to the original's swing feel. This, despite Kitchie's candid laughing while singing at the middle of the song. (Yes, she actually laughed right at the middle; maybe someone made a funny joke right beside her or something. I find her laughing cute.) I'm definitely impressed.

Torpedo by Isha and The Look is also a refreshing rendition. It begins with Isha's soft, soothing voice, then followed by a piano intro. (In contrast, the original song begins with an acoustic guitar intro.) Then during the chorus, the beat speeds up and synths are everywhere. I'm definitely very pleased with the rendition, although I still like the original's drum beats and the guitar and bass riffs better. Also, I think it would be better if the band retained the background vocal harmonies and the C - D/C - Dm/C - Fm/C - C chord progression near and up to the end of the song. Together, the vocal harmonies and the chords create a "heavenly" harmony feel like that in the original (although the original is a half step lower in key; the blissful harmonies credit goes to Rico J. Puno's rendition of Ang Huling El Bimbo). Rather, in Isha's version, the ending vocal harmonies are not that noticeable, and the chord progression ends in C - G/B - Am - G - F. But to her band's credit, they changed the lyrics a bit, from the dated "tumutunog na ang beeper mo" into the contemporary "nagri-ring na ang cellphone mo".

Superproxy2k6 is FrancisM's louder, heavy-metal version of the Ehead's Superproxy, with crunchier guitar riffs and an alkaline guitar solo, combined with turntable-scratching from the hip-hop world. Beautiful. Definitely impressive. And most of all, according to the album credits, Ely Buendia himself participated in the song! He did some background vocals over FrancisM's melody during the chorus. Near the end of the song, FrancisM did a rap solo longer than his rapping in the original. (Yes, FrancisM was also involved in the original song.)

The next song is Huwag Kang Matakot, performed by the big brothers in alternative music, Orange and Lemons. :-) Clem Castro's mellow vocal works plus the extensive use of acoustic guitars gave their rendition a gentle, wooing, "harana" feel. Their version also gave references to Julie Tearjerky (via guitar melody licks) and Tikman (via vocal harmonies), both Eraserheads songs. I'm very pleased with their rendition. (Update: The band's other vocalist, Mcoy Fundales, is the one who sang the hits Hanggang Kailan and Pinoy Ako.)

Next song on the list is the Eheads classic Pare Ko, performed by Sponge Cola, the recent band you might have been crazy for. :-) I'm glad that they did Pare Ko and not Walang Hiyang Pare Ko, the Eheads' cleaned-up version of Pare Ko. The original, profane and cussed up version is better and more expressive than the cleaned-up version. Yael Yuzon's raw vocals did sufficient justice to the song, though their version is "noisier" than the original. Also, I like the original guitar solo better. Overall, Sponge Cola's version is pretty okay.

Huwag Mo Nang Itanong is a very good acoustic rendition by MYMP. You can hear lots of piano and acoustic guitar in the song, as well as bits of clean electric guitar tunes. Juris Fernandez gave a very good, gentle and mellow vocal treatment on this song. Their version of the song carries a melodramatic and nostalgic feel. I love it.

The next song is Hard To Believe, performed by Cueshe. Jay's and Ruben's outstanding vocals did pretty well in this song, though I feel that much of their precious vocals were somewhat wasted. I think that the band somewhat overdid it; their rock version lost the simplicity and the Beatlesqueness of the original. The extra rock "noise" also made the lyrics somewhat harder to hear, considering the beautiful message of the lyrics. But overall, I find their rendition pretty okay.

Alcohol for me is the most fun part of the album. It's performed by the Radioactive Sago Project, the alternative band that loves to narrate, courtesy of Lourd De Veyra's "vocal" antics, socio-political stuff over a jazzy musical background filled largely with horns and various mambo percussions. They did perfect justice to the song, I say. Lourd's cussing in the song is even more solid and "malutong" than Marcus Adoro's in the original, and it added to the fun. Overall, they gave an in-your-face, humorous narrative treatment to the song. Love it.

Maling Akala is already a popular reggae rendition by Brownman Revival. The band also did perfect justice to the song. It seems that their version of the song in the album is longer than their other version played on the radio nationwide. It features Ely Buendia's voiceover in the latter part of the song, taken straight from the original Maling Akala. Great song.

Ang Huling El Bimbo, the second to the last song, was performed by the legendary singer Rico J. Puno. The rendition has a country feel mixed with lots of tom-tom and snare drum beats plus some piano and synths. It also features blissful vocal harmonies in the chorus; it reminds me of the harmonies in the Beatles song, You Won't See Me. As usual, Rico J. Puno poured out his emotion all over this song. A very good rendition, I'm impressed.

Finally, the last rendition is a collaborative effort of all the artists I mentioned above. It's entitled Para Sa Masa, an anthemic song of the Eraserheads. The mood of the song is much more slower and melodramatic than the original, and features stringed instruments such as violins. You get to hear South Border sing first at the beginning of the song. As a bonus, according to the album credits, some of the guitar parts were performed by Marcus Adoro himself! It's really a good rendition; my only comment is that the vocal parts were not evenly distributed, as all the ladies came to sing only near the end of the song. But overall, the song's definitely okay.

And so, that's my review. Anyway, I wish there would be a part two to this tribute album. If it happens, I hope that the following songs be included there:

Toyang
Shake Yer Head
Shirley
Sembreak
Minsan
Kamasupra
Waiting for The Bus
Poorman's Grave
Tuwing Umuulan At Kapiling Ka
Harana
Andalusian Dog
Kaliwete (with a reference to Rico J. Puno!)

from: http://perryv.i.ph/?itemid=201